What strings of the soul touches the bow. Romantic heroes of Gorky's early work. Essay on literature on the topic: Romantic heroes of Gorky's early work

Control work based on the play by M. Gorky "At the bottom"

Compiled by Noskova T.B., teacher of the Russian language and literature, MBOU "Secondary School No. 14"

1 option

1. When and where do the events in the play "At the Bottom" take place? Describe the lodging house.

2. Divide all the characters into two groups according to social status.

3. Follow how her first storyline develops in the play “At the Bottom” (Vasilisa - Ashes). What characters does she capture?

4. What unites the lonely inhabitants of the rooming house? Is it possible to consider only social oppositions as the main conflict of the play?

5. Where do you think the beginning of the play is?

6. What strings of the soul of the heroes does Luke touch with his speeches?

7. Interpret the parable of the righteous land told by Luke.

8. What is the purpose of Luke's "consolation": does he pursue selfish interests, or is his interference in the fate of other heroes caused by other motives?

9. Why doesn't Luka try to "comfort" Bubnov and Satin?

10. With the plays of which Russian writer can the drama of M. Gorky be compared in terms of its compositional organization?

Option 2

1. Give a generalized description of Kostylev and Vasilisa.

2. Do the heroes of the play have hope in the exposition? Prove it.

3. What is a monologue, dialogue, polylogue? What is their role in the play?

4. Restore the event row of the play. What events take place on stage, and what - behind the scenes?

5. Is it by chance that the wanderer bears the name of one of the apostles of Christ?

6. What does Luke promise, what does he call for? Why does none of the promises benefit the inhabitants of the "bottom"?

7. Under what circumstances does Sateen say his monologue about a person? What motivated his rebuff to the Baron? Does Satin condemn or defend Luca in his monologue?8. Why is Luke's vital conclusion about a righteous land so attractive: "if you believe, it is"?

9. So what is more needed: truth or compassion? Whose position - Luke or Sateen - is closer to you

10. Luke and Satin: antipodes or kindred spirits? Why does Satine suddenly protect Luka after leaving?

3 option

1. Has the life of the overnight stays changed since Luke's appearance?

2. Why do heroes live? What do the inhabitants of the "bottom" dream about?

3. How does Luke console the roommates?

4. How do the inhabitants of the rooming house feel about the wanderer's words?

5. What attracts you in the appearance and judgments of Luke? What do you take in it?

6. Is it Luka's fault for what happened in the last scenes?

7. Do the Actor, Pepel, Nastya change during the play? How and why?

8. Do the weak need lies? Is pity, empathy, compassion always humiliating?

9. Is a dispute about Truth and Man necessary in the play? How do you feel about the participants in the dispute and their positions?

10. Why did M. Gorky entrust an important monologue about a person to Satin?

4 option

1. What event overturned all the illusions of the overnight shelters sown by Luke?

2. What has changed in the life of the overnight shelters after the murder of Kostylev and the disappearance of Luka?

3. The fates of which heroes shocked you the most and why?

4. So what is more important: truth or compassion?

5. Determine the compositional elements of the play.

6. What is the outcome of the debate about truth?

7. What is Gorky's innovation as a playwright?

8. What is the philosophical meaning of the play?

9. Highlight the recurring, mirroring episodes in the play. What is their role in the composition of the work?

10. Did you like this piece? Why?

The plot of the play is the appearance of Luke. What events are "tied up" at this moment? What strings of the heroes' souls does the wanderer touch with his unexpected, so human-sounding words in a rooming house? What events and characters' lines evoke a response from Luke? The questions that the Reader asks already at the stage of comprehending the exposition help them to realize one of the most important questions proposed in the textbook and begin to accumulate materials to characterize Gorky's humanistic ideals, affirmed in the play "At the Bottom". Our observations help them to draw a conclusion about the philosophical nature of the play, to see the social orientation in the play. The play denounces and the play forms humanistic ideals in the viewer. The appearance of hope among the heroes, the growing feeling in each of the inhabitants of the bottom of the impossibility of living as they have lived until now, a more active desire to break out of the fetters of the bottom - these are the obvious changes in the consciousness and behavior of the inhabitants of the rooming house, which are noted by Readers, watching the events of Act I . How to analyze the II act (action)? When the play appeared, A.P. Chekhov wrote that it was “new and undoubtedly good. The second act is very good, it is the best, the strongest, and when I read it, especially the end, I almost jumped with pleasure. What can be seen in this act? Hope awakens in the inhabitants of the bottom, lives / desire to change life for the better. The illusory nature of this desire and this hope is clear to the viewer and reader, but not to the heroes of the play. Delving into the essence of each replica, one can feel the instability of the position of the inhabitants of the bottom. How is bottom life depicted in this action? Readers feel the unreliability of the relative balance that arises in the rooming house for some time, they note the greed of the hopes of the heroes who are not destined to come true: “In act II, Anna dies, in the same act Pepel almost killed Kostylev.” But “... still believes in the hospital in which he will be saved, Actor. Ashes still thinks with hope about the future, Natasha still has something ahead of her ... ”the student writes in his work, conscientiously trying to see with what yardstick one can approach the relatively stable moments of the life of the bottom. The terrible world of poverty and the futility of hopes for a better life cannot leave the slightest gleam ahead, no chance of delivering these heroes from their fate. But faith, but hope for a better future, in themselves represent that life-affirming force, that reserve of humanity, which the author constantly makes "sound". It is the existence of this positive force that is most important in the dispute about man and his role in life. Sateen's monologue is still ahead, but Luke's words should not be missed: “A man can do anything ... if only he wants to ...” Ahead is the climax. Consistently getting acquainted with the text of Acts I and II, Readers gradually accumulate information about the specifics of Gorky's dramaturgy, and by the climactic Act III they are already able to draw certain conclusions: they clearly imagine the social nature of the denunciation in this drama, understood the essence of the emerging, at first glance, multidirectional , disputes, the philosophical nature of the play. They see that it is these two leading features that subjugate all the others: the author focuses not on the event plot, but on opposing the position of the characters. That is why the dispute in the play is so important, the verbal duel, the expressiveness and swiftness of the dialogue, its aphorism. Gorky believed that aphorisms make it possible to clench words like fingers into a fist. It is already possible to follow these two actions to see how aphorisms saturate the speech of the characters, how Readers understand what an aphorism is and what is the role of aphorisms in the speech of each of the characters. The reader can invite tenth graders to find aphorisms in the remarks of one of the characters. This will help to cover the entire class with independent, individual or group work. It is also possible to limit the scope of such a task. For example, when offering to name the aphorisms in Luke's speech, let's limit the student's search to one of the actions. If this is a preliminary task for Act III, then the Readers will be able to make their report in the process of discussing the climactic act. At the same time, you can offer questions like a quiz: when did Luke say: “... to feel sorry for a person in time ... it’s good!”? When and which hero uttered the tragic and terrible remark: “Why do I need the truth?”? What story did Luka tell after he said: “... you can’t always cure the soul with the truth”? Among the various types of tasks, a selection of aphorisms from the third act is most often practiced. Writing out aphorisms, Readers note who said them, in what situations they arose. If the task is offered without any clarifications, as a rule, only Luke’s aphorisms are written out: “To caress a person is never harmful!”, “A person can teach good things - it’s very easy!”, “You can’t always cure the soul with truth”, “Everything people are looking for, everyone wants the best”, “Whoever wants it hard will find it!”, “... a person must respect himself...” As can be seen from the answers of schoolchildren, they actively support the humanistic ideas of the play, the ethical charge that they carry these aphorisms, arouses their sympathy, and, almost without noticing it, they diligently bypass the no less bright, but annoying with their cynicism, replicas of Bubnov, Kleshch and even (especially in this action! ) Satin. Turning us to aphorisms inevitably brings them back to reflections on the heroes of the work. Performing tasks, the nasa evaluate the sincerity or falsity of the remark, the reason that caused it. The ability to establish a connection between word and character is one of the most complex and responsible components of the analysis of a dramatic work. In the process of studying Act III, it is time to turn to a generalization of our observations in the analysis of images. There are teachers who seek to analyze the images of all the characters in the play. But it is more productive to limit such a work to two images that are most important for revealing its philosophical content - Luke and Sateen. Luke attracts many viewers and readers. It was around this image that the most controversy was going on. What is this hero? Readers willingly take part in evaluating his qualities and behavior: he is active and caring, sympathetic and unpretentious, gentle (“because he was crushed a lot”), evasive, cautious, possesses the gift of gloomy foresight of the fate of his random neighbors inherent in wise old age. He seeks to leave himself and distract them from thoughts of inevitable death. Turning to Luka, the hero of the play, one must see both attractive and unpleasant in his appearance, behavior, and judgments. Kindness and humiliation, downtroddenness, a tendency to reconciliation, preached by Luke, should not be evaluated by students in an abstract way. You need to see here a direct connection with his position in life. The character, speech of Luke, his actions cause both sympathy, and rejection, and even protest, which is largely prompted by the author's attitude towards the hero. Even more complex, in many ways incomprehensible to readers, is the image of Sateen. A degraded telegraph operator, a sharpie, capable of both nobility and cynicism, it is he who, at the moment of spiritual upsurge, utters the most important monologue in the play with the central program declaration for Gorky: “Man - it sounds proud!” Readers know that in this case the hero is, first of all, the mouthpiece of the author's convictions, a speaker carrying the author's creed to the viewer. Turning to the creative laboratory of the writer, one can emphasize the pathos of the play. It is appropriate at this stage of work on the text of the play to use the ending of the poem “Man”: “He slowly but firmly walks through the ashes of old prejudices, alone in a gray fog of delusions, behind him is the dust of the past in a heavy cloud, and ahead is a crowd of mysteries, impassively waiting his. They are countless, like stars in the abyss of the sky, and there is no end of the way for a man! So the rebellious man marches forward! And higher! All forward! And higher!" It is here that you can demonstrate a fragment of the play: "Man - that's the truth" - or refer to the film "Dramaturgy of Gorky". An analysis of the scene, an analysis of the types of actors who played this role, an assessment of the performance in the viewed fragment - everything will help students to comprehend the main conflict of the play, its pathos, its ideological orientation. This can also be facilitated by the questions proposed by the teacher to the class: in which of the episodes does Satin most of all seem to you the person to whom Gorky could entrust such a responsible and important monologue for the author? Recall: Satin is not the first time utters cruel and cynical words.

The plot of the play is the appearance of Luke. What events are “tied up” at this moment? What strings of the heroes' souls does the wanderer touch with his unexpected, so human-sounding words in a rooming house? What events and characters' lines evoke a response from Luke? The questions that the Reader asks already at the stage of comprehending the exposition help them to realize one of the most important questions proposed in the textbook and begin to accumulate materials to characterize Gorky's humanistic ideals, affirmed in the play "At the Bottom". Our observations help them to draw a conclusion about the philosophical nature of the play, to see the social orientation in the play. The play denounces and the play forms humanistic ideals in the viewer. The appearance of hope among the heroes, the growing feeling in each of the inhabitants of the bottom of the impossibility of living as they have lived until now, a more active desire to break out of the fetters of the bottom - these are the obvious changes in the consciousness and behavior of the inhabitants of the rooming house, which are noted by Readers, watching the events of Act I .
How to analyze the II act (action)? When the play appeared, A.P. Chekhov wrote that it was “new and undoubtedly good. The second act is very good, it is the best, the strongest, and when I read it, especially the end, I almost jumped with pleasure”2. What can be seen in this act? Hope awakens in the inhabitants of the bottom, lives / desire to change life for the better. The illusory nature of this desire and this hope is clear to the spectator and reader, but not to the heroes of the play. Delving into the essence of each replica, one can feel the instability of the position of the inhabitants of the bottom. How is bottom life depicted in this action? Readers feel the unreliability of the relative balance that arises in the rooming house for some time, they note the greed of the hopes of the heroes who are not destined to come true: “In act II, Anna dies, in the same act Pepel almost killed Kostylev.” But “… still believes in the hospital where he will be saved, Actor. Ashes still thinks with hope about the future, Natasha still has something ahead of her ... ”the student writes in his work, conscientiously trying to see with what yardstick one can approach the relatively stable moments of the life of the bottom.
The terrible world of poverty and the futility of hopes for a better life cannot leave the slightest gleam ahead, no chance of delivering these heroes from their fate. But faith, but hope for a better future, in themselves represent that life-affirming force, that reserve of humanity, which the author constantly makes “sound”. It is the existence of this positive force that is most important in the dispute about man and his role in life. Sateen’s monologue is still ahead, but Luke’s words should not be missed: “A person can do anything ... if only he wants to ...”
Ahead is the climax. Consistently getting acquainted with the text of Acts I and II, Readers gradually accumulate information about the specifics of Gorky's dramaturgy, and by the climactic Act III they are already able to draw certain conclusions: they clearly imagine the social nature of the denunciation in this drama, understood the essence of the emerging, at first glance, multidirectional , disputes, the philosophical nature of the play. They see that it is these two leading features that subjugate all the others: the author focuses not on the event plot, but on opposing the position of the characters. That is why the dispute in the play is so important, the verbal duel, the expressiveness and swiftness of the dialogue, its aphorism. Gorky believed that aphorisms make it possible to clench words like fingers into a fist. It is already possible to follow these two actions to see how aphorisms saturate the speech of the characters, how Readers understand what an aphorism is and what is the role of aphorisms in the speech of each of the characters. The reader can invite tenth graders to find aphorisms in the remarks of one of the characters. This will help to cover the entire class with independent, individual or group work. It is also possible to limit the scope of such a task. For example, when offering to name the aphorisms in Luke's speech, let's limit the student's search to one of the actions. If this is a preliminary task for Act III, then the Readers will be able to make their report in the process of discussing the climactic act. At the same time, it is possible to offer questions like a quiz: when Luke said: “... to feel sorry for a person in time ... it happens well!”? When and which hero uttered the tragic and terrible remark: “Why do I need the truth?”? What story did Luke tell after he said: “…you can’t always cure the soul with the truth”?
Among the various types of tasks, a selection of aphorisms from the third act is most often practiced. Writing out aphorisms, Readers note who said them, in what situations they arose. If the task is offered without any clarifications, as a rule, only Luke’s aphorisms are written out: “To caress a person is never harmful!”, “A person can teach good things - it’s very simple!”, “You can’t always cure the soul with truth”, “Everything people are looking for, everyone wants the best”, “Whoever wants it hard will find it!”, “… a person must respect himself…” As can be seen from the answers of schoolchildren, they actively support the humanistic ideas of the play, the ethical their sympathy, and they, almost without noticing it, diligently bypass the no less bright, but annoying with their cynicism, replicas of Bubnov, Kleshch and even (especially in this action!) Satin.
Turning us to aphorisms inevitably brings them back to reflections on the heroes of the work. Performing tasks, the nasa evaluate the sincerity or falsity of the remark, the reason that caused it. The ability to establish a connection between word and character is one of the most complex and responsible components of the analysis of a dramatic work.
In the process of studying Act III, it is time to turn to a generalization of our observations in the analysis of images. There are teachers who seek to analyze the images of all the characters in the play. But it is more productive to limit such a work to two images that are most important for revealing its philosophical content - Luke and Sateen. Luke attracts many viewers and readers. It was around this image that the most controversy was going on. What is this hero? Readers willingly take part in evaluating his qualities and behavior: he is active and caring, sympathetic and unpretentious, gentle (“because he was crushed a lot”), evasive, cautious, possesses the gift of gloomy foresight of the fate of his random neighbors inherent in wise old age. He seeks to “leave himself and distract them from thoughts of inevitable death. Turning to Luka, the hero of the play, one must see both attractive and unpleasant in his appearance, behavior, and judgments. Kindness and humiliation, downtroddenness, a tendency to reconciliation, preached by Luke, should not be evaluated by students in an abstract way. You need to see here a direct connection with his position in life. The character, speech of Luke, his actions cause both sympathy and rejection, and even
The protest, which is largely prompted by the attitude of the author to the hero.
Even more complex, in many ways incomprehensible to readers, is the image of Sateen. A degraded telegraphist, a sharpie, capable of both nobility and cynicism, it is he who, at the moment of spiritual upsurge, utters the most important monologue in the play with the central program declaration for Gorky: “Man - that sounds proud!” Readers know that in this case the hero is, first of all, the mouthpiece of the author's convictions, a speaker carrying the author's creed to the viewer. Turning to the creative laboratory of the writer, one can emphasize the pathos of the play.
It is appropriate at this stage of work on the text of the play to use the ending of the poem “Man”: “He slowly but firmly walks through the ashes of old prejudices, alone in a gray fog of delusions, behind him is the dust of the past in a heavy cloud, and ahead stands a crowd of mysteries, impassively waiting his. They are countless, like stars in the abyss of the sky, and there is no end of the way for a man! Thus marches the rebellious man—forward! And higher! All forward! And higher!" It is here that you can demonstrate a fragment of the play: "Man - that's the truth" - or refer to the film "Gorky's Dramaturgy". An analysis of the scene, an analysis of the types of actors who played this role, an assessment of the performance in the viewed fragment - everything will help students to comprehend the main conflict of the play, its pathos, its ideological orientation. This can also be facilitated by the questions proposed by the teacher to the class: in which of the episodes does Satin most of all seem to you the person to whom Gorky could entrust such a responsible and important monologue for the author?
Recall: Satin is not the first time utters cruel and cynical words. He is a card-sharp, a downcast and hardened man, like all the bed-seekers. Sateen's monologue is just a bright flash of the thirst for truth and justice, which does not fade at the bottom, and wherever a person is, as long as he remains a person.
The play is largely based on the opposition of the positions of Luke and Satine. There is no direct clash of heroes in it, between them nothing has ever happened that even remotely resembled a philosophical dispute. But this polarity is felt by the hostels themselves, their conversations and remarks gravitate towards one of the poles, their “truths” are different, and any reader or spectator feels the essence of the difference. Here is yet another proof that we are facing a philosophical, and not just a social drama. And one more proof is usually found by the Readers themselves: there is no Luke in act IV, but the controversy with him, the opposition to his positions do not weaken until the last remark - the controversy goes on at the level of facts, events. One of them is the death of the Actor. Thus, in the process of working on the images of Luke and Sateen, Readers will inevitably come to an understanding of the main conflict of the play and at the same time assert themselves in the ability to realize the ideological meaning of the play in the process of a thorough analysis of its leading images.

Essay on literature on the topic: Romantic heroes of Gorky's early work

Other writings:

1. 1. General characteristics of early creativity. 2. The main themes of the period. 3. The theme of human freedom on the example of M. Gorky's stories "Makar Chudra" and "Old Woman Izergil". 4. Two principles in the worldview of M. Gorky. 5. "People of the bottom" in the writer's work. 6. Landscape as a way to Read More ......
2. Maxim Gorky is known to us as a classic of proletarian literature. His work reflects the real events of the early 20th century, which shook Russia and the whole world. The singer of the revolution, M. Gorky entered the history of literature not only as a realist. At an early stage of creativity Read More ......
3. In his early work, M. Gorky did not draw ordinary people (peasants, workers), but romantic, sublime natures. These characters did not find a place for themselves in real life, they were constantly looking for something, striving for something. The heroes of the early Gorky stories are vagabonds, gypsies, shepherds or Read More ......
4. The beginning of the 90s of the 19th century was a difficult and uncertain time. Chekhov and Bunin, Gorky's older contemporaries, depict this period with the utmost realistic truthfulness in their works. Gorky himself declares the need to search for new ways in literature. In a letter to Pyatnitsky Read More ......
5. In the field of poetry, the young reformer at this time wins decisive victories. The collection of his poems Oriental Motives, published in 1829, is living evidence of the advantages of the new, romantic poetry. The French have not yet heard such verses. They contain both the sultry sky of Spain and Read More ......
6. The play "At the Bottom" was the result of almost twenty years of Gorky's observations of the world of "former people." In the early Gorky stories, the image of the tramp is not without even some romantic overtones. The reader is attracted by his prowess, breadth of soul, humanity, the search for justice. One can feel its undoubted superiority over well-fed Read More ......
7. In his "walking around Russia" M. Gorky peered into the dark corners of life and spent a lot of writing effort to show what kind of hard labor their working days can become for people. He tirelessly searched for something bright, kind, human, Read More ......
8. For me, all of Russia is in Gorky. Just as I cannot imagine Russia without the Volga, so I cannot think that there is no Gorky in it. K. Paustovsky Gorky occupies a large place in the life of each of us. He is the representative of the infinitely talented Read More ......

1. The appearance of Luke in a rooming house. (Analysis of the scene of the first act of M. Gorky's play "At the Bottom".)

2. "Mayakovsky's poems are always on the cutting edge of the comic and tragic" (Yu.N. Tynyanov).

3. The main motives and images of A.A. Feta.

4. The theme of the search for the truth of life in the prose of M.A. Sholokhov. (Based on the novels "Quiet Flows the Don" or "Virgin Soil Upturned".)

The image of a warrior-worker in the story of M.A. Sholokhov "The Fate of Man".

5. “You need to live not for yourself and not for others, but with everyone and for everyone ...” (N. Fedorov). (Based on one or more works of Russian literature of the 19th century.)

Consultation

When starting work on the first topic, it is important to show the tense atmosphere of the rooming house, the fact that disputes are born in it every minute, and to establish their cause. The purpose of such an analysis of exposure is to convince the reader that before him is the bottom of life, a world where all human hopes must fade away. The relevance of the first phenomena of the play is undeniable: the richness of the action is manifested in human clashes. Then we move on to the plot of the play. This is the appearance of the wanderer Luke. Here you need to think about the answers to the following questions:

• What strings of the heroes' souls does the wanderer touch with his unexpected, so human-sounding words in a rooming house?
• What events and characters' lines evoke a response from Luke?
• What “events” are being tied up at this moment?

And, finally, the conclusion: at the end of the first act, the appearance of hope among the heroes, the growing feeling in every inhabitant of the bottom of the impossibility of living the way they have lived until now, a more active desire to break out of the fetters of the bottom.

The disclosure of the second theme involves the identification of the artistic originality of Fet's poetry. He entered Russian literature as a representative of the so-called pure art, following the principle that beauty is the only goal of the artist. Therefore, nature and love were the main themes of his work. We propose to analyze two poems by Fet, the most striking examples of his love lyrics, - “Whisper, timid breathing ...” and “At dawn, you don’t wake her ...”. The natural world and human feelings are inextricably linked. Like Tyutchev, Fet animates nature: the poet's lyrical feeling seems to penetrate into the world around him, spills into it. Let us also name such poems as “Evening”, “Spruce hung my path with a sleeve ...”, “Rye ripens over a hot field ...”, “There are winter nights of brilliance and strength ...”, “Still fragrant bliss of spring. .." other. Each of them is a small masterpiece. Attention should be paid to the musicality of Fet's poetry, achieved by an extraordinary variety of strophic and rhythmic forms, to the philosophical beginning, which is intensified in Fet's late work. These are thoughts about the eternal wisdom of nature, about the freedom of creativity, about the futility of human fuss, about the limitations of human knowledge.

The third topic is related to the analysis of the lyrics of one of the most complex poets of the 20th century. Mayakovsky is really very “different” in his work: the subtlest lyricist, the author of the most tender love poems and poems, and the angry, scourging satirist, and the creator of major epic works, and the playwright, and the passionate publicist, and political agitator, and also the avant-garde artist and film actor - all this is one Mayakovsky. All Mayakovsky's work is a gigantic contradiction. The lyrical hero of this poetry is multidimensional, multifaceted, hence his lyrics "on the cutting edge of the comic and tragic." This is noticeable already in the early lyrics of Mayakovsky. The imperfection of the world order, the sharp discrepancy between dreams and reality, the depressing vulgarity and lack of spirituality of the world around us gave rise to angry rejection in the poet’s soul (“Cloud in pants”, “Nate!”, “You!”, “Tired” and others).

Satirical beginnings develop in the poems of a later period (“On rubbish”, “Having sat down”). Mayakovsky ridicules philistine ideas about beauty, grace, poetry (“Marusya Poisoned”, “Two Cultures”), completely subordinating his work to the task of rebuilding society - this is both Mayakovsky’s strength and tragedy. Rebuking words are “not convulsive words stuck together in a lump”. You can finish the essay on Mayakovsky's lyrics with the words of Marina Tsvetaeva: “Mayakovsky is the first new man of the new world, the first to come. Whoever did not understand this did not understand anything in him.

Consider the fourth topic on the material of the novel by M. Sholokhov "Quiet Flows the Don". Let us recall the path of searches of Grigory Melekhov. It was about him that Sholokhov said: “He fought off the whites, did not stick to the reds ...” But he always honestly tries to figure out what is happening around. Painful searches lead Grigory either to the White Guard ranks or to the Red Army. He feels that both the Reds and the Whites have their own right, and therefore rushes between two fires, trying to figure out which side is the truth. In conclusion of the essay, it should be said that the tragedy of Grigory Melekhov is the tragedy of the Russian Cossacks as a whole. Tracing the tragic life path of Gregory, starting with the history of the Melekhov family, one can not only reveal the causes of his troubles and losses, but also come closer to understanding the essence of that historical era.

On the fifth topic, we can suggest turning to the work of L.N. Tolstoy. We see that in many of his works the question is: “Who am I? Why do I live? What am I living for? All Tolstoy's favorite heroes are captured by an intense spiritual search ("The Path of the Search for Prince Andrei", "Ideological and Moral Evolution of the Personality of Pierre Bezukhov", "True and False Beauty" - in the novel "War and Peace"). You can also reveal this topic on the material of the novel “Crime and Punishment” by F.M. Dostoevsky ("The collapse of Raskolnikov's individualistic theory", Raskolnikov's tragedy in the novel "Crime and Punishment", "He did not kill the old woman, but "killed himself" as a person").

A.I. Kuprin "Garnet bracelet»

1. How was the gift - a garnet bracelet - perceived by Vera and her family? What is its value? What is the symbolic meaning of this detail? - 5 points
2. What does General Anosov say about love? 5 points
3. To whom and why does the author sympathize in the story? 10 points
4. In whom and how was nobility manifested, in whom and how - spiritual poverty in the face of great and pure love? 10 points

Tasks based on the play by M. Gorky "At the bottom".

1. When and where do the events in the play "At the Bottom" take place? Give a description of the hostel. 5 B
2. What unites the lonely inhabitants of the rooming house? Is it possible to consider only social oppositions as the main conflict of the play? 10 points
3. Where do you think the plot of the play is? Determine the compositional elements of the play. 10 b
4. What strings of the soul of the heroes does Luke touch with his speeches? 5 points
5. How does Luke comfort the bed-seekers? How do they feel about his words? 5 points
6. Interpret the parable of the righteous land told by Luke? 10 points
7. Under what circumstances does Satine deliver his monologue about a person? 10 points
8. .What is the philosophical meaning of the play? 10 points

Assignments based on Bunin's story "The Gentleman from San Francisco"?(for each correct answer - 2 points)

1. In what country does the story "The Gentleman from San Francisco" take place?

1) in Italy 2) in the United States 3) in Germany 4) in England

2. Which of the listed epic genres does the work of I.A. Bunin "The Gentleman from San Francisco"?

1) short story 2) story 3) story 4) essay

3. What did the respectable audience gather on board the steamship Atlantis?

1) the need to leave their country due to social upheaval

2) desire for entertainment and recreation

3) the need for communication between representatives of the same social stratum

4) cohesion around a single idea

4. Behind the description of the life of the passengers of the "Atlantis" lies the author's

1) respect for the powers that be

2) indifference to man and humanity

3) rejection of the values ​​of the bourgeois world

4) mocking the heroes

5. What is the name of the means of expression used by the author when describing "Atlantis": "... the floors... gaped with countless fiery eyes"?

6. What is the name of the means of expression, which contains a generalized multi-valued meaning (the ocean, the steamer "Atlantis", a silver mustache and golden fillings of a gentleman from San Francisco)?

1) metaphor 2) comparison 3) symbol 4) personification

7. What is the main idea of ​​Bunin's story "The Gentleman from San Francisco"?

1. description of a wealthy American tourist's journey across the Atlantic
2. exposure of the revolution in Russia
3. philosophical understanding of human existence
4. American perception of Soviet Russia

"5" - 110 -125 points

"4" - 90 -109 points

"3" - 50 - 89 points